Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Honduras and from Johannesburg.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1978.
I'm losing my edge.
To all the kids in Calgary and Lille.
I'm losing my edge to the art-school Winnipeg kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 2001 at the first Tiga practice in a loft in Montreal.
I was working on the oboe sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Dual Sessions to the punk kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Girls At Our Best!. All the underground hits.
All Fatback Band tracks. I heard you have a vinyl of every The Fire Engines record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '90s.
I hear you're buying a synthesizer and a clarinet and are throwing your macbook out the window because you want to make something real. You want to make a Henry Cow record.
I hear that you and your band have sold your guitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a guitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Q65,
Cecil Taylor,
Oblivians,
Public Enemy,
The Remains,
Glambeats Corp.,
The Fire Engines,
Buzzcocks,
T.S.O.L.,
Ossler,
Magazine,
Los Fastidios,
Davy DMX,
Young Marble Giants,
London Community Gospel Choir,
Thompson Twins,
The Jesus and Mary Chain,
Angels of Light & Akron/Family,
Drexciya,
Radiohead,
Thee Headcoats,
Robert Wyatt,
MC5,
A Flock of Seagulls,
Kerrie Biddell,
Barbara Tucker,
Sun Ra,
Faust,
Teenage Jesus and the Jerks,
The Sound,
Electric Prunes,
Television,
the Soft Cell,
Louis and Bebe Barron,
Flipper,
The Associates,
Bill Near,
Mad Mike,
Fad Gadget,
World's Most,
The West Coast Pop Art Experimental Band,
Wolf Eyes,
Sister Nancy,
Accadde A,
David McCallum,
Symarip,
Nik Kershaw,
Gil Scott-Heron and Jamie xx,
Bauhaus,
Girls At Our Best!,
The Royal Family And The Poor,
Simply Red,
Lou Christie,
Subhumans,
Agent Orange,
Roy Ayers Ubiquity,
Jeff Lynne,
The Fugs,
Pierre Henry,
Japan,
Country Joe & The Fish,
The Sisters of Mercy,
Visionaries,LMNO, T- Love & Iriscience,
Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band, Bootsy's Rubber Band.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.